Diving right in (1300 words)

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HareBrain

Ziggy Wigwag
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I put the opening to my main WIP here a few months back, and the start of ch1 was generally well-received. But every time I read through it, I angst over it. It's the only part of the book I keep fiddling with, and I think I've realised why. I think I'm rebelling against the artifice of the careful drip, drip of information, to introduce the characters (but not too many at once!) and set up the situation and hint at the world. It feels like a complex painting-by-numbers rather than getting a brushful of paint and slapping it around on a canvas.

I wondered whether it might work to just slice off the first few pages, ignore set-up and hope the reader is interested enough by the opening action to want to catch up on background later.

So, here's the start of where most readers seem to think the story really takes off. But does it work as an opening? And if so, is there any vital information missing, or anything I need to expand on at this stage to keep the reader getting hopelessly lost?

Any other comments would be great too, thanks.


**************************


They swam to a point above the ziggurat’s doorway. Orc could just make it out, seventy feet deep, in the north face of the step-temple’s lowest tier. He called across to Ranga in the sailboat to time his breathe-up, and Cass held him from behind, finning gently to keep his face out of the water. Limp in her arms, trying not to focus on the feel of her holding him and quickening his skin through his wetsuit, Orc mentally counted out slow, deep breaths. Count of three in, count of six out, while the swell gently lifted and dropped him, and the sun burnt down, and ten yards away the fishing boat rocked with the soft slap of water …

‘Eight minutes!’ called Ranga.

‘Ready?’ said Cass.

‘Hmm,’ he exhaled, and carried on exhaling. He forced himself empty till his chest hurt, then breathed in long, and long, and long, and Cass released him. He ducked his head under, brought his feet up and drove himself into the dive that might be the most important of his life.

A clean start, no thrashing at the surface: he finned smoothly down into the silence, one hand constantly pinching his nose through his mask so he could pressurise his ears. The mounting weight of water pushed his stomach wall against his compacting lungs, squeezed his mask against his face until he spent a quick snort of air to restore the balance. Buoyancy faded along with light and colour. He slowed his kicks to save energy. The ziggurat’s lowest tier resolved from blue murk as he glided down. Schools of pale fish lazily spread to let him fall through.

Just short of the seabed, he stalled his descent with a swipe of his fins. With his weight-belt countering the squeezed air in his lungs, he hung motionless before the doorway. Its massive stones were carved with serpents and leaves and corn-stalks: eroded outside, but clearer just within the long passageway, before it turned black.

An entrance to thousands of years of lost history — and to the Otherworld. It was dangerous to think in such terms, but he needed to be on the edge of that world to get the help he needed. He touched the hollow of his throat, felt the jagged little lump of his focus-stone beneath the pliancy of his wetsuit. And if he was lucky, then after a whole summer of searching, this would be the ziggurat that held its much larger cousin, the focus-stone that would change his and Cass’s lives.

He pressed the crystal against his skin — Right, Otter, let’s go — and opened himself to his animath, holding in his mind the creature’s ability to swim into dark places and still see. As he felt the shift in his spine and muscles, the blackness of the passageway softened. He kicked through the doorway into suddenly colder water, keeping close to the ceiling to avoid disturbing the silt. Inwards, and inwards, and as the yards passed he began to sense a presence around him, and it grew as he went deeper: the nearness of the large focus-stone, it had to be. The dimness ahead brightened. The wall-carvings became visible again, no longer natural shapes but spirals, lines, zigzags. Tension gripped his diaphragm as he neared the end of the passage, the niggling urge to breathe mounting with his excitement and dread.

The passageway opened into the central chamber: twenty feet each side, feebly lit by distant daylight coming down through the shaft in the centre of its pitched ceiling. And its floor —

Crap. It was bare, no sign even of the hole Ranga’s source had mentioned. No gold, and no stone.

He pushed away disappointment. No time for it. There might still be the usual artefacts, and they badly needed something to sell. Lungs already burning, he finned towards the shaft opening. For a moment he saw blood dripping from it, but he shook the image off. Invoking Otter opened himself to other things, too; he had to keep his mind together. But the sense of presence he’d felt in the passageway was stronger now. And if it wasn’t the stone, then what? It felt different, aware of him: a scrutiny, old as the thousands of tons that penned him in, and weighted with malice …

Stop it.

Beneath the shaft, he glanced up. At the top, the surface glittered between the crossed bars of the stone grille. The nearness of air caught at him, but the grille would make it a cage of death. Relax. Searching just within the shaft, his hand found the usual hole on one side. He pulled his head and shoulders into the shaft and reached in.

The first contraction spasmed through his abdomen, his body urging him to breathe.

Relax. Relax.

He groped, caught something.

A shadow fell. He jerked his face up. A body had fallen across the grille, and from it rained blood.

No — he refused the image, and the body was gone, the light returned. Ghosts or his imagination, they were strong here. But the scare had raced his heart. He pulled out the cup he’d found: not much larger than his hand, black with tarnish but whole. Silver.

His diaphragm buckled again. He needed to breathe now. He ducked out of the shaft and turned, ready to kick towards the passage; then his neck prickled and he glanced to the side and —

A face.

A woman’s face staring teeth sharp in the murk and something uncoiling

His air almost blew. He fixed his eyes on the exit passage and kicked. But got nowhere. He worked his legs madly, and now felt it: the rope of muscle around his ankle. Holding him. Just imagination, had to be, but — his diaphragm convulsed — he couldn’t move. Panic clawed him. Submit, came a voice in his head, let me have you.

He struck with his right fin towards his left ankle, felt it hit. The hold loosened; he kicked with all he had and shot forward, free. His diaphragm buckled again as he powered into the passage; and again it contracted, and again after a few more yards, his insides squirming and twisting with need. Ahead, the bright entrance, the open depths — then a seventy-foot ascent; it would take seconds, he could make it. But every moment was pain and his legs were draining of strength; his fins crashed against the walls.

Let me take you.

The backs of his legs scraped the doorway lintel as he swam out into the open. Glittering high above was his next breath, but he had no buoyancy and no strength; his blood was exhausted and his thighs burned with acid. He kicked and it was feeble; another contraction punched through him, then he was grabbed again —

But under his arms. He was rising.

He held on through the agony of the stale poison in his chest, held on with everything. Cass’s legs beat against his as she finned, but hers were strong and fresh and the seabed faded below. Orc’s contractions came faster. His vision tunnelled into black. He fought against the approaching faint, and the surface rushed and he crashed into purple sky and — air!

‘Breathe!’ shouted Cass in his ear. ‘Breathe!’

He forced his lungs to work. Blackness dragged at him, but he sank mental claws into the distant coast and the feel of Cass holding him, refused to let them go.

‘Get out!’ he croaked as soon as he could. ‘Something down there!’

‘It’s okay, you’re safe.’ Cass turned him to face her. ‘God, your lips are blue.

‘Get out, come on!’ He hardly knew what he was saying.

‘You’re safe, calm down.’ She kept finning, holding him up. ‘What happened? Was it the one?’

He shook his head. He put his masked face in the water, heartbeat mad with dread, but saw no sign of pursuit. A fog of silt had risen to hide the doorway.
 
I really like this. I remeber thinking the same when I read the last piece you posted up, and I can't wait to read it all, in print ;)

Down to critiquing, there wasn't too much I picked out. The few repetitions, I don't know if they add anything. The 'inwards and inwards' kind of repetition I mean, others work fine, like the deep breaths and distances work well together.
Maybe there are one or two too many mentions of his need to breathe, I rise it's a very pressing thing for Orc, but might work juat as well with fewer breaks in the chase scene.

The first paragraph I did find quite confusing and took me a couple of reads to get my head around it. I wonder if the is a simpler way of introducing us to the book? Might just be me though.

As to whether it works as an opening, I would say yes.
I'm intrigued enough to red further definately, I like the characters. Though we don't see much of them really, I get a real sense of camaraderie between the two, it's very well done. As far as I recall the other piece you posted, prologue excluded, was just on the ship and introduced a few extra characters, but didn't explain anything more about resons or the world really. So in that sense (and assuming I haven't forgotten something vital) this works just as well, and has the added bonus of being the quick, action portion of the opening, and might be tempted to go with this for the start.
 
Yes, it gets going when the voice starts talking to him. Before that, anything you could trim out might help it be more actiony.
I'm thinking of 'limp in her arms..' or anything else you deem hackoutable, because it is exciting, the big dive, and if it's the beginning you might want to keep it as direct as possible. 'An entrance to thousands of years..' is an important sentence, could p'raps be moved up? It works fine as an opening though, no worries there.
 
Wow, HB. I found myself reading faster and faster, feeling the sense of urgency, of lungs screaming for air and the terror of being held under. Very powerful piece of writing and I would read on, without a doubt.

But, I have to agree that the opening paragraph was a little hard to get my head around. It is good that you present the contrast between the preparation for the dive and the concentration required vs the dramatic action of the actual dive, but I wonder if you could make that first few lines a little more accessible. I liked the hint of sexual tension when Cass holds him though.
 
Thanks for the feedback and advice so far. If I keep this, I'll look at what I can trim in the first few paragraphs. Some of the technical aspects (regarding air pressures and so on) I'm a bit reluctant to remove altogether because they feed into important plot points later, and this is the only sensible place where they can be brought in earlier. OTOH, it's unlikely readers will remember them after a couple of hundred pages, and I don't want to slow up the opening, so maybe I should just work harder to find a way round it.

The first paragraph I did find quite confusing and took me a couple of reads to get my head around it.

But, I have to agree that the opening paragraph was a little hard to get my head around. It is good that you present the contrast between the preparation for the dive and the concentration required vs the dramatic action of the actual dive, but I wonder if you could make that first few lines a little more accessible.

It would be a real help if you two could point out what you found confusing or inaccessible, as it's very hard for me to see this with an outsider's eye at this stage.
 
I need a hot cup of tea and I won't be even able to get into the bath for ages :(
Doesn't need any background.
I didn't find it confusing.

When can I buy the book?
 
I did like the set up from before - it provides context for us, a sense of happening, and puts pieces in place while setting up multiple tensions. My personal opinion is that the original opening is strong.

However, if you did insist on being utterly brutal with it, I might suggest that you instead start with:

he finned smoothly down into the silence

The couple of paragraphs above this aren't clear on context - for example, the first line had me believe he was already swimming underwater. And if you want the dramatic opening, then IMO this gets straight into with, as opposed to just sitting in the water, control breathing, and technical preparation which doesn't really odd to a punchy opening.
 
I was all ready to pick out a few things in the opening paragraph that caught me out when I read it, but reading it back now I can't really find anything major and it read fine.

If anything it was the 'timing the breathe-up' I don't understand what that is. I imagine it to be someone counting how long it takes to resurface. Which if that's the case, I also imagine there to be someone resurfacing now, so Orc can figure out how long he has to keep back for his own dive.
Also, Introducing 4 new names (3 characters and ziggurat) in opening paragraph might be too much?
 
@Brian Turner, that would be brutal! But it makes a good opening line. I'd be a bit nervous about the absolute lack of any context for what follows, but maybe that actually works in its favour.

I'd be interested to hear other opinions on whether that line would make a better start.

ETA @LittleStar -- thanks, that's exactly the kind of thing I was after.
 
Hi HB. like LittleStar the 'timing the breathe-up' confused me on the first reading, although I think I vaguely understood it the second time. The other phrase that made me go back and re-read it was 'Orc could just make it out, seventy feet deep, in the north face of the step-temple’s lowest tier'. It just didn't seem clear instantly.

I still think you need the tense opening section before the dive, but an opening paragraph that makes the reader have to work it out maybe isn't the best. I wonder if you could simplify the confusing bits for bears with little brain like me?

Sorry I wasn't more helpful. I really love the rest of the excerpt.
 
I think the first sentence is still written as a middle bit, not an opener.
'They' needs a speck more definition.. Maybe a hint more whereness.

Other then that its good to go.
 
I thought it was very good HB and a well worked narrative, something I always find harder to manage, writing strong narrative sections. A slightly confusing opening but only because your presenting a character in water, which is unexpected and took me a few lines to catch up with you. Not a problem for me, I think the reader should be forced into working with the author.

I still have a spanner here that I'm going to throw into the works, or possible spanner. The character name Orc had me thinking it was an Orc, as in the creature and Lord of the Rings, but only at the opening. But I still kept thinking of an ugly Orc after that, which might just be me. How did that big Orc fit into that tunnel, how do Orc's swim, why is Bowler1 being such a pain and can I shoot him with his own RAY GUN, a thought you now have - don't touch the gun, it's mine.

Anyway, good job - I'm off.
 
But I still kept thinking of an ugly Orc after that

The choice of Orc is going to haunt me to my grave, I know. But what I hadn't previously thought about is that some readers would continue to visualise one of Tolkien's orcs even after realising he's human.

Here's a question for people -- if I were to start with him swimming down, and didn't name him until he comes back out of the ziggurat (which I don't in the above), would not naming him be a pain?
 
Why is he called Orc anyway?

He and Cass were found washed up in their gear with blank memories, and the person who found them gave them names based on the lettering on their wetsuits, Orca in his case. That's a decision I made early on before it turned into something big and serious, and I'm not sure I'd make it now, but it's stuck and I'd have a hard time changing it. (I also like the connection with William Blake's character Orc, but I guess that's pretty obscure.)
 
I don't think moving and hiding the character name would ever save you from the random thoughts in my yellow head, as your asking. You have reasons for the name, good ones too, so keep it. It didn't stop me reading on.
 
I don't think moving and hiding the character name would ever save you from the random thoughts in my yellow head

I believe you! But if I don't introduce his name until after the reader has pictured him as human, it should lessen the risk of people getting tangled up with his name generally. Having said that, I'm not sure about it -- leaving an opening character as "he" for several pages is the kind of thing I can imagine annoying me as a reader. I'll have to try to think if I've ever seen it work.

Call him Orca then?

I considered that, but I don't like the sound of it nearly as much.
 
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